Latest reductions: June

Our monthly round-up of all the stuff you haven't been buying. And because football is definitely coming home, we've taken 20% off rather than the usual 10%...whilst stocks last, of course.

Please note that this promotion officially ended on Thursday July 12th 2018. Any discounted items may now have returned to full price, and other items may no longer be available at all. If you missed out on this promotion then sign up for our email alerts so that you stand a better chance of not missing out on the next one. « Previous promotionNext promotion »

Since Nic Tasker kicked off Whities back in 2014, the label has grown to become one of the buzz-labels in UK club culture. Their soundsystem techno output is similar to that of Timedance or Hessle, but the tunes tend to have a sweeter, more melodic flavour to them. Similar things can be said about Whities splinter-imprint Whities Blue - following up a killer first drop from Tessela and Lanark Artefax, the second instalment of the series sees SMX and Koehler turn in two wonderful bits of rave revivalism on WHYTBLU 02.

After Dan Judd dropped the first LP from his Sorcerer project in eight years back in 2017, it seemed like a good time for Be With Records to reissue his two earlier full-lengths. Moreover, the poly-genre style of White Magic was oddly prescient at the time, and heard a decade on the album’s mish-mash of hypnagogic pop, MPC funk, Balearic house and a whole lot more settles quite comfortably into the landscape of contemporary alt-dance. Nice music for fans of Lindstrom, Todd Terje and so on.

Sorceror’s Neon Leon was a likable record when it was first released in 2009, and it remains a likable record now that it’s being reissued in 2018. Different cover artwork and a remastering job have given this LP a new lick of paint, but at heart it’s still a collection of gently playful cosmic disco tracks pitched somewhere between Lindstrom and Jens Lekman’s ‘Sipping On The Sweet Nectar’.

Inexplicably, back in the 1980s, a steel mill worker from Missouri called Omer Coleman Junior begun driving around town in a souped-up space age car and introducing himself to people as Starship Commander Wooooo Wooooo (proving, if proof was ever needed that two 'o's is never enough). In his spare time, he made electronic funk music over which he sung in an alien voice. The '80s were ace.

Having built on the legacy of artists like Einstürzende Neubauten in the 80s and 90s, German duo Strafe F.R. (Für Rebellion) have returned to the fray in recent years after a couple of decades in hibernation. New LP The Bird Was Stolen contains more of the challenging mix of industrial music, found sound and studio experimentation that made the band’s name all those years ago. Out via Touch.

The Stretchmarks are a reasonably obscure group from the late 1980’s, featuring a wild mix-up of members from Nico’s backing band, The Blue Orchids, and the plunderphonic avant-messers who would later form Stock, Hausen & Walkman. The Stretch m-ARKhives presents an assembly of variously recorded material, showcasing the group’s noisy improvised funk madness. Out on Hot Air.

Post-Materialization Music (Ceramic Hobs, Kylie Minoise) reissue this 1986 tape from Sun Ra & His Cosmo Discipline Arkestra. Though A Night In East Berlin may not come from Sun Ra’s most revolutionary period, it still finds him operating on a different (astral) plane to many of his pretenders. It is masterly the way his band move between free-form wig-outs, cosmic synth-play and gorgeous post-bop. The East Berlin setting gives the record a little extra tension.

We all wish we could be called Sweatson Klank, but unfortunately, there can be only one. This Sweatson Klank is a Los Angeles producer who melds hip-hop, future R&B and House whilst being nifty enough to balance the necessary muscular punch with a soulful emotional tug. Fine Lines doesn’t fit into any particular pigeonhole, but will fit nicely on your turntable. LP on Friends of Friends.

Terre Thaemlitz’s LP Deproduction was a bold, challenging and typically fearless piece of sound art. The arresting original of ‘Admit It’s Killing You (And Leave)’ brought together post-minimalist piano composition with discomforting samples. Here, all is stripped away bar the keys to leave an uncanny spool of music. Deproduction EP 2 also has Thaemlitz turning in an edgy, deeper-than-deep house remix of the same piece under the banner of her DJ Sprinkles project. Great stuff.

Though the career of 70s band Beginning Of The End ended up being relatively short (they disbanded after their second album), things seemed rosy on the release of their 1971 debut LP Funky Nassau. The eponymous track was a huge hit, selling over a million copies and topping the Billboard R ‘n’ B chart. That song’s ebullient mix of American funk sounds, hi-life guitar and the polyrhythmic grooves of their native Bahamas are carried on through the full-length. Not a million miles away from The Funkees. The CD edition contains both this record and their self-titled follow-up.

Vegans and vegetarians, look away now. The album art and name of this band give me a really uncomfortable feeling. Why would you use a happy looking cow with flowers on its head, alongside the band name: The Boney Burger. I mean, it's quite funny in a really horrible way. This four-track release called Brew 07 is available on vinyl 12" and is released on Brew. I hope you enjoy this you cruel cruel boney bunch of burgers.

Innovative Leisure may be best-known for their more beat-orientated output - BADBADNOTGOOD, Nosaj Thing etc. - but there is some fire in the belly of the LA label too. This is exemplified by The Buttertones, a ramshackle rabble who bear the influence of bands like The Gun Club and The Cramps. Their wide-eyed rock ‘n’ roll chops are all present and correct on fourth LP Midnight In A Moonless Dream.

The second LP from The Dean Ween Group arrives hot on the heels of the band’s last LP, but that doesn’t mean rock2 sounds rushed. Rather, the record brims with life and melody, suggest that Dean’s hiatus from Ween has done him a world of good. Songs like ‘Don’t Let The Moon Catch You Crying’ are beautiful, swooning rock jams in the vein of Eels and … well, Ween.

This really exists. Freddy’s Greatest Hits by The Elm Street Group mixes covers (Everly Brothers, Wilson Pickett etc), instrumentals and original songs played by respected professional musicians and sung by Robert Englund as Freddie Kruger. Perhaps unsurprisingly, this was largely ignored when it was originally released in 1988, but since then there has been a growing demand with people paying megabucks for second hand copies. It’s the must have novelty album of 2017!

I remember sitting by my radio cassette player one Sunday evening in 1986 with my finger poised to hit play and record simultaneously to record The Flaming Lips No.3 hit, Jesus Shooting Heroin. This is all lies of course. The Flaming Lips haven’t had any real chart hits as such, but they are releasing Greatest Hits Vol. 1 which is a sprawling 52 track 3 CD collection containing some of their best-loved songs and more obscure ditties from 1992 onward. It even includes that song that was only released on an MP3 stick inside a gummy skull. The LP version is a more concise and recognisable 11 track best of.

These weird avant punks blended a garage rock sound with rockabilly and raw energy to subvert the expectations laid down by their genre, taking influence from post-punk and all its weird offshoots. The Gun Club originally released the often more traditional 'Mother Juno' in 1987, and it now sees reissue by Bang! Records.

Reissue of the last album recorded by The Gun Club founder Jeffrey Lee Pierce, first released in 1993. They are still unique in their vicious combination of post-punk and country. Lucky Jim is by far the darkest entry in their discography as the band grappled with identity, death, and belonging.

There was only ever 300 copies of Flagellation, the one and only LP by The Just Measurers, pressed back in 1983, so it’s no wonder that this really weird DIY punk record has recently been changing hands for the best part of 500 notes. Emotional Response saw fit to reissue the LP, so now you can grab a copy without breaking the bank...and you should, too.

The nicest band in rock return with their fifth LP and first since 2014’s Alias. Siblings Stodart and Gannon may have beefed up their sound a little on Outsiders - there’s a grit to cuts like ‘Sweet Divide’ which evokes modern blues-rockers like The Black Keys - but their trademark harmonies ala The Mama’s and the Papa’s keep things on the sunny side.

Wilco guitarist Nels Cline strikes out on his own again with Currents, Constellations, ostensibly less ambitious than his previous outing, Lovers, which saw him front a 23 piece orchestra but no less engaging. Here, with the help of Scott Colley on bass, Tom Rainey on Drums and jazz guitarist Julian Lage, with whom Cline has worked before, The Nels Cline 4 create a versatile album of rock, balladry and the avant garde. LP on Blue Note.

They may want to reconsider that name but this is a rare chance to get one of the great lost albums from the Golden Age of Hip-Hop. Initially part of the Project Blowed collective these two 17 year olds were considered innovators of the LA Hip Hop Underground and this album contains material thought by all involved to have been chucked in the bin.

The Perth County Conspiracy were a psychedelic folk group from the 1970s whose records now fetch big bucks. If you don’t have big bucks, then the people at Flashback have conveniently reissued their eponymous 1970 LP at an affordable price. Despite coming only a few weeks after their Columbia debut, the band agreed to do this album exclusively for Canadian Radio. They penned original material as well as arranging covers of Bob Dylan, Donovan and Smokey Robinson for the broadcast. It’s all wrapped up in a neat little package for this release.

Described in the press release as 'three rousing tracks to stir the attention' (whatever that means), this record is probably one you're going to want to listen to should you need to have your attention stirred (apparently). It's worth noting that amongst the attention related jokes that these three tracks are actually pretty cool...like the album art. The Sun God is, of course, Chicago's finest - explorer of rhythmic cubism Jamal Moss aka Hieroglyphic Being.

Who would you recruit if you were putting a band together? Me I'd go for Phil Collins (drums), Nick Beggs (bass), Robert Fripp (guitar), Viv Savage (keys) and Elton John (triangle). Tim Burgess went for some lesser names because these were the names he'd already recruited for his band to play on his latest album. Sadly due to our Twitter spat I wasn't considered but little does he know I play a mean cor anglais. His loss. Anyway this was apparently recorded in 2008 which I find hard to believe as Ladyhawke is on it and she was surely about ten at the time.

Multi-instrumentalists Valentina Magaletti and Tom Relleen, aka Tomaga, unleash a 9-track opus of gentle ambient, industrial minimalism and Krautrock-inspired motorik. This is a gentle record, revolving around intuitive pulses and abstract imagery, avant-garde in its approach, contemporary in its execution.

Toresch are an international trio sculpting neo-industrial electronic jams out of stern drum machines, cold vocals and plenty of who-knows-what noises. With experience DJ-ing in Düsseldorf and in a band with Klaus Dinger spread among the group, it’s no surprise that debut release Essen Fur Alle is rhythmically super-capable. LP release on Offen Music.

Repress and first ever CD release of this 1986 Tubby Hayes Quartet performance. Disappointingly Tubby is not a tuba or a tuba player, but a sax player. This is very, very fast jazz, with the star of the show being Hayes's remarkable drummer who manages to maintain a precision and delicacy for its entire length.

On Shipless Ocean is the second record from pysch-rock band Us and Them. What makes this record even more special is that it is available on a limited pressing blue vinyl. Available only as an LP and released on Mega Dodo. Apparently, when you listen to this you feel like you're in a warm 'liquid bubble'. Interesting.

The name Ossie Thomas may not be as well known as Lee ‘Scratch’ Perry or King Tubby, but like those producers Thomas has been responsible for writing some important chapters in Jamaican musical history. In particular the riddims he made in the latter part of the 1970’s under the name Black Solidarity were some crucial first steps from the genre we now know as dancehall. The Kingston Sounds compilation Birth Of Dancehall - Black Solidarity 1976-1979 gives Thomas his dues. Sugar Minott, Josey Wales and a mis-titled tune from Sammy Dread (‘Wat Wah’ is in fact ‘Righteous Dread’) are among the track listing.

Still In A Dream - A Story Of Shoegaze 1988-1995 does its genre a service, providing a comprehensive retrospective that digs much further than the obvious surface: Lush, Ride and The Cocteau Twins are all here, but so are Swirlies, Flying Saucer Attack and Smashing Orange. 5 discs, packaged along with extensive liner-notes, on Cherry Red.

Compilation to celebrate the 20th Anniversary of the Megaphone record label. It features a wide range of the label's roster, including legends like Michael Head and Karen Dalton (a favourite of both Bob Dylan and Adele). The CD comes with a booklet of unpublished photos of all the musicians.

Renair records continue their necessary series exploring the history of Jewish recorded music, with Warsaw's Jewish Mermaid - Syrena Records 1909-1933. Pre-WWII Warsaw, together with Berlin, was the cultural-intellectual epicentre of Europe. Its famed artistic vibrance owed a significant debt to its panoramic ethnic and cultural diversity. Thankfully, a handful of valuable recordings survived the holocaust and we can experience echoes of that culture. Syrena documented a wide variety of musical activity in Poland from 1909 until the end of the '30s. Human life in all its rich tapestry is on this CD: affairs of the heart, domestic squabbles, soldiering, bankruptcy and prayer.

Ah yes, Ingrid Goes West. It's a [scrolls down Wikipedia page to critical reception] critically acclaimed movie with favorable reviews. A film about [scrolls back up to start of Wikipedia page] someone moving to LA to hang out with someone they follow on Instagram, it sounds to me an incredibly relatable experience, and is soundtracked by some suitably idealistic dance hits, road trippin' to soul, new wave and more. Can, Islands and Bobby Oroza are three artists that exist on this soundtrack.

New release from Via Maris released on cool DJ Beneath's record label, his first since releasing on cool label Livity Sound, and built for the likes of cool ex-club Plastic People. Shelleys is three tracks of bass heavy techno that still manages to show the breadth and depth of Via Maris's talents.

Vicktor Taiwò attempts to combine twin loves of pop music and experimental on a record of inner belief and self-actualisation. His debut, Joy Comes in Spirit, gambles on its bedrock of singer-songwriter soul with amorphous deviations. Tunes stretch and expand, taking on retro game music, rap and 808s-era Kanye in its fetch quest for introspection.

Composer and sound designer Wata Igarashi reunites with NYC techno fiends The Bunker with four slabs of eerie, slightly psychedelic club fodder. Opener ‘Outburst’ recalls Pump Panel’s remix of New Order’s ‘Confusion’, which you might know better as the power-techno banger that soundtracks the club scene in Blade. The middle of the EP consists of two more DJ tools characterised by hissing ambiences and spiralling synth motifs. Closer ‘Broken Telephone’ is a weird, pleasing half-time number.

Auckland’s Wax Chattels self-identify as ‘guitarless guitar music’. This description makes plenty of sense when you get a load of their eponymous debut LP. There’s a lot of rock-isms going on here - the yelpy vocals and pounding drums of a garage rock band, bass licks with a light punk-funk flavour - but the band’s crunchy keyboard sound does the work of a distorted six-string. This being a Captured Tracks release, there’s a nice seam of poppiness that runs through Wax Chattels. Think At The Drive In meets The Gun Club.

The third of three long form collaborations between original odd couple DJ Sprinkles and Will Long (Celer). These journeys into deep house have a basic home grown feel to them with simple beats accompanying drawn out synth notes and samples slathered on without a care in the world. It isn't sophisticated but still draws out the atmospheres we expect from such heavyweights of relaxed, lengthy music.

With The Dead are a supergroup, although they’re not so keen on the term. They are a heavier-than-heavy metal trio made up from Tim Bagshaw and Mark Greening of Electric Wizard and Lee Dorrian of Cathedral and Napalm Death. Dorrian also owns the pioneering UK label Rise Above. The label have had a fractious relationship with Electric Wizard over the years, but all seems fine on their eponymous debut...or has it added to the brutal sounds waiting to fight their way out of your speakers? I think you’re gonna like this.

Wojciech Golczewski has scored several cult horror flicks at this point. The Polish composer now adds the post-Stranger Things B-movie Beyond The Gates to a roster that includes Tonight She Comes and Dark Souls (the movie, not the game). Death Waltz Recording Co. - who film score buffs will be familiar with as a label that has put tonnes of screen music on wax - press Golczewski’s retro, John Carpenter-esque score to pink vinyl.

Dense and groovy from Glasgow's Optimo Music. WomenSaid are another member of the city's thriving underground and scene and a very good one at that. Two basses and a whole bunch of electronic doom and gloom makes for a oddly gleeful gut punch of a record. They weren't lying when they called it Magick!

Some late 1980’s cuts from Workdub, a project that seemed to disappear as quickly and as enigmatically as it surfaced. These tracks are beautifully spacey leftfield synth-work, really something to behold. Originally released by the equally mysterious Dubit label, this EP is now being reissued by Music From Memory, to the immense relief of keen collectors.

Tokyo native ZZZ is an artist with many aliases (DJ Nozaki, DJ Cornbeef) but his musical output is consistently killer. This limited-edition, one-time pressing of 'Psychic Agony Ov Session' fuses Chicago style beat tracks with rocking, old school house cuts in a slamming huddle that is sure to set dance floors alight.

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